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Tag Archives: Smooth Jazz

Guitarist Blake Aaron was locked and loaded to release a new single on July 30 when fate intervened. Earlier this month, he received a track from chart-topping saxophonist Darren Rahn, which inspired Blake to write an entirely new melody. The guitar man’s record company, Innervision Records, and radio promoter flipped when they heard the demo, instantly recognizing the hit potential for “Groovers and Shakers.” The hustle was on and within ten days, the new track was produced and recorded by Aaron and Rahn, replacing the single Aaron had intended to drop on the same date. Several radio programmers who have already heard it are eager to add it into rotation on Monday.

“Groovers and Shakers” balances retro R&B dancefloor funk and urbane hipster cool jazz with panache. Aaron’s crisp electric jazz guitar licks pair divinely with Rahn’s vivacious tenor sax blasts throughout the sizzling summer single. The complementary tandem had wanted to collaborate dating back to an interview Rahn did a few years ago when Aaron hosted a nationally-syndicated radio show. The cut they crafted together recognizes the people behind the music, the fans, the radio programmers and the concert promoters who are keeping jazz vibrant and flourishing.

“In every aspect of our lives, there are ‘Groovers and Shakers’ who make everything happen and our smooth/contemporary jazz community is no different. From the dedicated fans who follow the music online, on the radio and who come out to the concerts with smiles on their faces while dancing on their chairs to the people who tirelessly work at the radio stations to bring new music to the listeners; to the club, festival and event promoters; and to radio, print and online jazz media. Every one of them could have used their talents in any number of areas, but their passion for this music has inspired them to work – some even just as volunteers – to keep smooth/contemporary jazz thriving. It is these ‘Groovers and Shakers’ to whom this song is dedicated for without you, there is no jazz,” said Aaron, who for decades has been a fixture on the Billboard Top 10 singles chart.

Slated to appear on Aaron’s forthcoming “Color and Passion” album, “Groovers and Shakers” is the fifth single from the project tentatively slated to drop this fall, following “Riviera Nights,” “VIVID,” “Godfather Brown” and “Summer Ride.” The unconventional approach to recording an album over a period of years mirrors the successful path he followed for 2015’s “Soul Stories,” Aaron’s fifth album that was assembled and released as collection of diverse yet engrossing musical chapters only after three singles reached the Billboard Top 10.

Aaron performs frequently with his own band at venues across the nation along with being a busy first-call session player and producer. He’ll play the Derby City Jazz Festival at Churchill Downs in Louisville, KY on August 10, The King Center in Melbourne, FL on September 22 where he will share the marquee with Paul Taylor and Brian Simpson, and back home at SoCal’s jazz hot spot, Spaghettini, in Seal Beach on September 29.

When asked how he got Grammy-winning legends George Benson and David Sanborn to perform on his new single, “Stay,” keyboardist David Garfield responds dryly with a gleeful grin, “You ask them.” The third single from Garfield’s forthcoming “Jammin’ Outside the Box” album is a remake of the Rufus classic featuring the vintage R&B-funk band’s former drummer Moon Calhoun singing lead on the song he wrote with Chaka Khan. “Stay” goes for radio adds on June 11 and drops digitally from Creatchy Records on June 15.

As Garfield was gathering material for his multi-disc, multi-genre “Outside the Box” series, he decided to give his long-time friend, Calhoun, the chance to sing the first song he ever wrote, which appeared on Rufus’s “Street Player” (1978). Calhoun was paralyzed in a bike accident 25 years ago and although he can no longer play drums, he can still sing. After inviting Benson and Sanborn to participate, Garfield let Calhoun cast the rest of the track’s musicians, which includes original Rufus guitarist Tony Maiden, along with Maiden’s daughter, Amanda Maiden, on backing vocals. Among the prominent players is a powerhouse sax section comprised of Sanborn on alto, Eric Marienthal on tenor and Tower of Power’s Doc Kupka on baritone; Paul Jackson Jr. (rhythm guitar), Vinnie Colaiuta (drums), Freddie Washington (bass) and Lenny Castro (percussion). Sanborn and Benson take turns in the spotlight soloing.

“Both George and David were very gracious. It was great to put them together. They compliment each other,” said Garfield, who is Benson’s long-serving music director and has collaborated with Sanborn on numerous occasions. “Initially George was only going to play the solo, but when he heard the guitar tracks, he added some rhythm guitar as well. This track really embodies the idea of musical community, where everyone works hand in hand, gifting each other with their talents. All I think about when I hear the finished song now is, ‘Moon finally got to sing his song!’”

Scheduled to street on July 20, “Jammin’ Outside the Box” is the second volume of the star-studded “Outside the Box” collection. Released in late March, Garfield’s first ever straight-ahead jazz date, “Jazz Outside the Box,” continues to gather radio spins and receive accolades. “Jammin’ Outside the Box” mixes it up in the smooth/contemporary jazz sandbox showcasing luminaries Benson, Sanborn, Smokey Robinson, Michael McDonald, Ray Parker Jr., Oleta Adams, Phil Perry, Marcus Miller, Kirk Whalum, Rick Braun and many more. The outing’s first single, “Go Home,” hit No. 2 on the Billboard chart, while the follow up, “Jamming,” rose to No. 8.

Garfield will perform music from “Outside the Box” on May 31at Cleveland’s Night Town and celebrate “Jazz Outside the Box” on June 12 in Hollywood at the Catalina Jazz Club featuring special guests.

After twenty years of being one of the genre’s most sought-after side-men, arranger, writer, producer and keyboard player Kim S. Hansen is stepping center stage with his debut single, the infectiously vibrant “To the Limit”. Not only is it a fine example of smooth jazz circa 2018 but, given he plays both keyboards and all guitars throughout, stands also as a glowing tribute to his multi-faceted artistry.

Since his arrival in LA from Denmark in 1997, and starting out as Musical Director for the Grammy-nominated and platinum-selling recording artist Maxine Nightingale, Kim has gone on to tour or record with the likes of Patti Austin, Howard Hewitt, Earl Klugh, Peabo Bryson, Bobby Lyle, Oleta Adams, Doc Powell, Steve Oliver, Jeff Kashiwa, Paul Jackson Jr., Everette Harp, George Duke, Nils, Phil Perry, Michael Lington and, significantly, U-Nam with whom he has played many times. This has included cameo appearances on the U-Nam “Live @ Anthology” DVD and his “Give Me the Night” video.

In fact, his smooth jazz career really took off through a chance encounter with legendary drummer Ricky Lawson when they were both hired for the same TV show. Kim quickly came to regard Lawson as his musical mentor and when he booked Hansen as Musical Director for the nationwide “Winans Family Reunion Tour” things began to happen. He continues to write prolifically for both television and the movies while with “To the Limit” his musical evolution is entering an exciting new phase.

Out on Skytown Records, “To the Limit” radio single will be going for adds on March 26th, 2018.

Delilah Records is thrilled to announce the release of the latest single by Rocco Ventrella, “Precious Of Life”, available on all major digital stores on April 30, 2018. “Precious Of Life” is the new single which will be part of the full new album by Rocco Ventrella which will be released in autumn. “Precious Of Life” is an original composition of the saxophonist and producer Rocco Ventrella. With this single, he expresses his thoughts about the most precious things that life has to offer him (and to all of us), his two daughters Delilah and Margherita.

“Precious Of Life”, the new single is scheduled for release on April 30, 2018, in digital download. Rocco Ventrella lives in Bari, Italy and he’s introduced quite well to the music business since his debut album Give Me The Groove, gaining a Grammy Award Pre-Nomination for Contemporary Jazz Best Album 2007.

Contemporary jazz-R&B funkster Brian Culbertson has had love on his mind essentially since last Valentine’s Day. Inspired by the occasion of his twentieth wedding anniversary last fall, the keyboardist began writing thirteen new songs about a year ago dedicated to his wife, Michelle, which make up his “Colors of Love” album that was released on Wednesday, Valentine’s Day, by BCM Entertainment. Substituting the live band instrumentation customary of his recordings, Culbertson crafted an intimate set of ardent acoustic piano melodies using sensual synth grooves and textures. With the title track of his eighteenth album that he wrote, arranged and produced already in the Billboard Top 5, his attention is fixed on creating the highly-theatrical production he’ll take on the road for nearly three months beginning March 30 across the bridge from Philadelphia in Collingswood, New Jersey and concluding in Seattle on June 17.

Culbertson showcases his proficiency as a multi-instrumentalist by playing virtually all the instruments heard on “Colors of Love” – piano, keyboards, Fender Rhodes, Wurlitzer, Hammond B3 organ, synth bass, drum programming, percussion and trumpet. The only supplementation came from guitarist Isaiah Sharkey along with an ethereal accordion passage from Peter White on the song “In A Dream.” Impassioned tracks like “I Want You,” “Love Transcended,” “Don’t Go,” “You’re Magic,” “Let’s Chill,” “Desire,” “In Your Embrace” and “The Look” employ caressing melodies and sultry rhythms to allure, soothe and seduce. Even more revealing and evocative is the ravishing piano poetry of “Through The Years,” “Michelle’s Theme” and “All My Heart,” poignant solo pieces that Culbertson uses effectively to tell wordless stories of romance and amorous contemplation.

As he lovingly conceived the cozy collection depicting the many different “colors” of romantic love, Culbertson envisioned mounting an elaborate concert presentation utilizing video and lighting to present the cherished material in an immersive multimedia experience.

“I’m in the midst of creating a stunning-looking show, working closely with my lighting director and visual designer. We’re using a Visualizer to play each track to design and run the lighting and videos as if it was a live show right there on our computer screens. It enables us to dial in every little nuance of the music so that each video and light is precisely timed to the music. The detail is really amazing. I am loving the process of creating the production for the tour,” said Culbertson, who will begin ten days of production rehearsals in Nashville with his band in mid-March.

Culbertson’s Colors of Love Tour has already announced 66 shows in 50 cities with more soon to be added to the itinerary. The nationwide trek includes a June 7 performance at Culbertson’s seventh annual Napa Valley Jazz Getaway, a five-day music, wine and lifestyle experience held in the heart of California Wine Country.

“The ‘Colors of Love’ show will be staged in three acts. The first and third acts will showcase the new album along with romance-themed selections from my catalogue. In fact, we’re going to be drawing heavily from my ‘It’s On Tonight’ album,” explained Culbertson. “We’re not planning to do any big horn section pieces during this tour like I’ve done in the past and did extensively during last year’s Funk! Tour, but the second act will be a slamming funk set guaranteed to get everyone up and dancing.”

“I asked Marqueal to bring his soprano sax for this tour. The sound fits the intimate ambience of the music we’re going to perform. It’s the first time in over a decade that I’ve used soprano sax in my live show,” said Culbertson, who describes the “Colors of Love” album as “textural ear candy cinematic in nature.”

As Culbertson shares his anniversary and Valentine’s Day gift to his wife with the world on record and during the upcoming tour, expect the architect of 30 Billboard No. 1 singles as an artist, producer and/or songwriter to add to that stat.

From night until morning, Jazz Holdouts frontmen Alan Palanker and Lou Cortelezzi have been toiling away in the studio diligently conceiving ultramodern electronic soundscapes to pair with their enticing keyboard and saxophone melodies. Last summer, they came up with a sensual blend of throbbing house music, nocturnal chill nuances and steamy contemporary jazz harmonies on a cut titled “Summer Nights,” which went No. 1 on the Billboard and Mediabase charts. Going downtempo for a laidback oeuvre of sunrise seduction, the duo wrote and produced “Morning Breeze,” the follow-up single that began going for radio playlist adds on Monday.

“‘Morning Breeze’ refers to the urge we often have to make love when we awaken in the morning. It passes over us like a cool breeze on a hot summer day and we make of it what we will,” said Cortelezzi about the inspiration for the new cut. “Our goal is to create instrumental music that is, groove-oriented, atmospheric and contemporary. The more traditional elements that say ‘jazz’ – like improvisation – are secondary to the overall effect of the composition.”

The winning combo of keyboardist Palanker and saxman Cortelezzi have taken Jazz Holdouts in bold directions. The outfit initially formed as an adult R&B/singer-songwriter venture that dropped the debut disc, “Intuition,” in 2014. Scrapping the original concept and recruiting the hornman into the fold, the reimagined Jazz Holdouts premiered their reworked vision in 2016 with the Billboard Top 20 single “Simple Things,” a futuristic foray swirling exhilarating electronica experimentations, dancefloor dynamics and soothing sophisticated sax. All three singles will be on the ten-song album slated for release this summer.

Jazz Holdouts consists of a veteran core of accomplished musicians who have toured and recorded with many of the biggest names in pop, R&B and jazz over the past few decades. On “Morning Breeze,” Palanker and Cortelezzi are joined by guitar ace Michael Thompson, bassist John Siegler and percussionist Walfredo Reyes Jr. Fusion guitarist Jamie Glaser will appear on the album as well.

“Lou and I are the songwriters, but the Jazz Holdouts recording process is unique and technologically current, including valuable contributions from our highly-skilled audio mix engineer, Douglas Cooper Getschal, who is key to shaping our sound,” said Palanker.

After the album is complete, the Jazz Holdouts’ focus will shift to how to present the music live in a compelling multimedia production that stimulates the senses. Cortelezzi said, “We are excited about the possibility of adding extensive video content to our live shows. The combination should be very entertaining to our audience and interesting to us as musicians.”

The dramatic opening immediately commands attention. Emerging from the lab with a preview of her upcoming summer album, urban jazz alchemist Mariea Antoinette returns on January 29 with the jubilant “Overture,” the new single featuring her mystical harp pouring forth as a bubbly protagonist. The divine stringed instrument is cast amidst an intriguing orchestral proscenium both ancient and modern constructed by a nine-piece string section, three-piece horn section and an empowering rhythm track crafted by Emmy winner and two-time Grammy-nominated producer Allan Phillips, who co-authored the composition with Antoinette.

“Overture” is the first original recording from Antoinette since her Phillips-produced “Straight from the Harp,” which was a Billboard Top 5 smooth jazz album in 2015. The new cut demonstrates that her mission to shatter preconceived limitations, stretch and abolish musical borders and boundaries, and expand the possibilities for the harp as a lead instrument in R&B, jazz, funk, soul and rock remains unwavering.

“My goal has been to present the unexpected: to make the harp the lead instrument backed by bass, drums and percussion. I am continuously stretching and pushing the boundaries of the harp, making a clear statement that it possesses a funky and powerful place in contemporary music. The harp is unexpectedly expressive in its delivery, a forceful lead voice and soloist in the midst of it all,” said the San Diego-based Antoinette. Continue reading →